Ge ny 











Spanish Interiors - Furniture 
and Details 


from the 14th to the 17th Century 


With an Introduction by 
HAROLD DONALDSON EBERLEIN 


136 PLATES WITH MORE THAN 450 PHOTOGRAPHS 





New York 


Architectural Book Publishing Company, Inc. 
PAUL WENZEL AND MAURICE KRAKOW 
31 East Twelfth Street 


Printed in the U. S, A. 
By 
The Lent and Graff Co., N. Y. 





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LI, ed dain a. Snes | tb Ma AOMAR- Aris + oh 


INTRODUCTION 


HE Spanish element has entered conspicuously into American architecture and interior 

decoration. In both it has taken a definitely recognised place. Furthermore, it has 
unquestionably come to stay. It has long since passed the experimental stage when it might, 
perhaps, have been regarded with some suspicion as a more or less ephemeral fancy. The 
permanence of its position is assured beyond all peradventure. 

In California and the Southwest, indeed, Spanish architecture is, so to speak, indigenous 
and the Spanish tradition, grounded in the days of the early Missions, has never really died 
out, although at times it has suffered neglect or even almost total eclipse. Not a great 
many years ago there was a vigorous recrudescence and the favour with which the Spanish 
mode is now regarded not only continues unabated, but is very perceptibly increasing. In 
the domestic field it is not too much to say that it dominates the situation. 

Along the Atlantic seaboard, in the Middle West and in the South, although there was 
no such anciently implanted tradition, save in a small area of Florida, the sterling qualities 
of things Spanish have so manifestly commended themselves that in comparatively recent 
years the Iberian vogue has quickly taken root in a kindly soil and rapidly shot up into the 
robust tree we now behold. Spanish architecture and the Spanish mode of interior decora- 
tion exhibited characteristics that were obviously appropriate to a broad variety of local 
conditions, and people were not slow to recognise their substantial value. 

The present collection of Spanish interiors, furniture and details, gathered by the pub- 
lishers and presented in the following plates, will therefore be welcomed by the public as a 
valuable addition to material hitherto available. The subject matter contained in this 
volume will be found full of apposite suggestion for use not only by the architect and dec- 
orator, but also by the layman, whose appreciation has reached a stage of intelligent discrim- 
ination undreamed of not many years since. . - 

Thorough familiarity with authentic precedent is essential to a sympathetic and under- 
standing employment of the examples we choose as patterns to emulate or to adapt. And 
such familiarity can be gained in no more lasting and effectual way than through the eye. 
Whatever may have been the habit of earlier generations, the present generation, at least, 
learns vastly more from pictures than it does from the printed word. Hence it is that 
ample illustration is the most fruitful and most stimulating means of conveying that sort 
of suggestion which later takes visible, concrete shape in finished performance. 

Eclecticism is one of the most conspicuous qualities in the practice of American archi- 
tecture and decoration. And this eclecticism is wholly justified both in principle and on the 
score of results achieved. It is justified in principle because it is of the very essence of 


constructive originality to assimilate, adapt and wisely combine all manner of precedents 


iil 


drawn from a varied repertoire, according as need or opportunity invite. It is justified 
by results because none with keener discrimination, none more successfully than the Amer- 
ican architect and decorator have made use of inspiration derived from the widest diver- 
sity of sources. 

Spanish precedent, rightly perceived and rightly used, cannot fail to enrich our outlook 
to a marked degree. Let us, then, review the salient characteristics of the interiors, furni- 
ture and details to be found in the ensuing pages and endeavour to arrive at some construc- 
tive generalisations from the analysis. Many of the examples from which we can deduce 
the most representative features are to be found amongst the interiors. We shall, therefore, 
begin with them. 


In appraising the values of Spanish interiors it will help to clarity of perception if we note 
first the dominant qualities of the fixed or architectural characteristics and afterwards take 
account of the manner in which the movables are employed to effect compositions. Last of 
all, we may survey the distinguishing peculiarities of the movable objects themselves and mark 


the features of structure and embellishment that impart national individuality. 


The typical Spanish interior of the Renaissance, and even of the Baroque age that fol- 
lowed it, was always virile and distinctly positive in tone. Oftentimes, indeed, its clean-cut, 
articulate emphasis was carried to the extent of ruggedness. Mere “prettiness” was a thing 
never aimed at, nor even conceived of as the remotest possibility or as a thing to be desired. 
There was none of that feminine daintiness and suave pliability, none of that polished 
elegance of a multitude of little perfections, in which the French interior of the eighteenth 
century excelled. Life was stern, splendid, gorgeous or imposing, as the case might be, but 
it was not filled up with a host of complex and artificial trivialities. Even when life was 
luxurious, it was luxurious in a broad and simple fashion, and always attended with stately 
dignity. The course of events moved forward with majestic and deliberate tread. If luxury 
and sumptuous display were in evidence, they appeared ina masculine manifestation, This 


view of life was plainly reflected by the Spanish interior in all its phases. 


Ordinarily the Spanish interior, whether in the great villa and castle or in ihe smaller 
and humbler country house, was apt to be austere in its general aspect. At times it was aus- 
tere even to the extent of positive severity. Its architectural character was always evident, 
and no one could be unconscious of the dominating quality of walls, floor and ceiling. It 
could be gorgeous—intensely gorgeous—as it often was, with splendid carving, painting and 
magnificent hangings, but the gorgeousness, by whatever means it might be encompassed, 
was tempered by judicious restraint. It was rich in dramatic values and dramatic contrasts. 
Spain is a land of sharp contrasts in nature, and this extraordinarily clear-cut definition of 
environment could not well help but find an echoing note in the architecture. Furthermore, 
the Spanish interior was essentially simple in its organism in that it was unmistakably artic- 
ulate and free of all complexities. And this simplicity could go hand in hand with the richest 
decoration, which never lost its coherence; simplicity, in this respect, was not incompatible 


with opulent ornament. Strong architectural lines supplied the requisite balance, and the 


decoration, however intricate in itself, only served to stress the structural straightforward- 
ness. Above all, there was an air of spacious tranquillity quite irrespective of the size of the 
rooms. This atmosphere of disciplined repose was due in no small measure to the height of 
the ceilings—a striking example of the great importance of that dimension which is too 
generally overlooked in modern design. Without making provision for appropriate height, 
it is altogether futile to design interiors in the Spanish mode and expect them to possess the 
same breadth and dignity of bearing as the prototypes after which they are presumably 
patterned. 

The characteristic qualities just enumerated as belonging conspicuously to the Spanish 
interior are admirably exemplified in the illustrations of the house of El Greco, in Toledo. 
In them may be seen not only the markedly national ensemble embodying the distinctions 
that give the Spanish interior its rare charm, but likewise those particular items that enter 
into the composition and are essential to it. They are there plainly in view, so that their 
effects may be fully weighed and analysed. 

In studying the early Spanish interior there is one fact that it is important to keep 
in mind. In many instances the Moorish influence is clearly traceable, and this influence, 
through the traditions and conservatism of the craftsmen, continued as an appreciable 
factor up-to the beginning of the seventeenth century, and even later. Indeed, the impress 
of Moorish tradition was so enduring that even long after the employment of unmistak- 
ably Mohammedan motifs had waned and the direct touch of the Moorish craftsman had 
been obscured by the influx of Italian and other foreign types of design, many of 
the methods that remained in common use were reminiscent of the age of Mohammedan 
supremacy in architecture and all the other arts. . To the Moors, for example, may be 
ascribed the type of wooden ceilings chiefly met with, the method frequently seen of 
panelling doors, the free use of polychrome tiles for mural enrichment, and the general 
austerity of arrangement and avoidance of needless complexities. 

In some of the old interiors the Moorish element is altogether dominant; in others the 
methods of the Renaissance have been carried out to the exclusion of Moorish factors; 
in others, still, the Moorish and Renaissance influences have been curiously merged and 
blended, and these last are often amongst the most engaging that Spain has to offer. It 
was a common practice at the time of the Renaissance for the Spaniards to accept and 
incorporate in their creations the good things of Moorish provenance so far as they could 
consistently do so. These blendings of Renaissance and Moorish elements are usually 
characterised as Mudéjar. 

The floors of old Spanish houses are to be found paved with tile, stone or brick or, 
again, they may be constructed of wood. Wooden flooring was apt to be used in rooms on 
the upper floors, whither the occupants mostly resorted in winter for the sake of warmth, 
while tiles, stone and brick were generally reserved for the ground floor, partly because of 
coolness in hot weather and partly as protection against the attack of insects that confine 


their worst ravages to the lower storeys. 


Although vivid-hued polychrome tiles play such an important role in the equipment 
of old Spanish interiors, it is on the walls and not on the floors that we must look for the 
most characteristic display of glowing colour and vigorous pattern. The floor tiles, for 
the most part, were devoid of pattern and their prevailing colour was that of ordinary baked 
clay. Asa relief to the expanse of dull red, smaller tiles with pattern and varied colour 
were not seldom set between the large red tiles at convenient intervals for accent. In 
Plate 12, showing an interior of the “Cau Ferrat,”’ at Barcelona, may be seen a floor of this 
description, where most of the units are large, red brick quarries, set round with lines of 
smaller tiles, those at the crossings or intersections of the lines exhibiting varied colour 
and pattern. Again, in the seventeenth century interior, in the Castillo de los Condes de 
Perelada, at Gerona (Plate 13) appears a black and white chequered floor of tiles, while in 
the seventeenth century interior at Torla (Plate 20) the flooring is of stone. In the Casa 
Cabanyes, at Argentona (Plate 26) the floors are of plain brick. One of them is diago- 
nally jointed so that the general effect approximates an herring-bone pattern, the other is 
jointed longitudinally and transversely to the lines of the room, but both floors are made 
subjects of interest. In the plates showing the interiors of the house of El Greco (2 and 3) 
are to be seen both tiled and brick-paved floors, one of the latter disclosing a pleasing and 
unusual pattern made by setting the bricks on edge in a chevron or herring-bone device 
of exceptionally large scale. 

The floors just referred to are thoroughly representative so that there is no occasion to 
multiply instances. It will be seen from all of the examples cited, as well as from numerous 
others that might be adduced, that the floors, while exhibiting a certain restrained interest 
of pattern and colour, were not ordinarily made the vehicle of brilliant and high-keyed poly- 
chrome treatment. If brilliant polychrome effects were employed, they were apt to be 
reserved for rather special accent of limited areas. 

When we come to the walls, we encounter an altogether different usage with respect 
to both the colour and the pattern of tile encrustations. The plates illustrating the 
interiors of the “Cau Ferrat,” at Barcelona, give abundant evidence of the wealth of pattern 
that could be brought into play in the tiling applied to walls. When we add to pattern the 
manifold resources of glowing, gorgeous colour, it is easy to see that under certain condi- 
tions the effect could be positively dazzling. 

It was not until the seventeenth century that single tiles were decorated with complete 
pictorial subjects. Prior to that time the tiles bore some geometrical pattern or some con- 
ventionalised flower device or other subject that lent itself to conventionalised treatment. 
These conventional or geometrical patterns might be complete on one tile unit or, again, 
they might require two or more units—very often four, as a matter of fact—to complete 
the design. It is scarcely necessary to add that the older and purely decorative method of 
tile design was inherently appropriate to the purposes and technique of tile enrichment 
while the later pictorial perversions were exactly the reverse. It is only the tiles of 
altogether decorative type with which we need at all concern ourselves. 

Polychrome tiling, besides occurring in the form of dadoes, was often employed as a 


vi 


facing for doorways and windows, the covering of window reveals and window seats, the 
facing and lining of cupboard niches, the embellishment of fountains, the lining of lavabo 
niches in dining-rooms, and the enrichment of steps, the risers and sometimes the treads, 
too, exhibiting tile inlay. Such an employment of tiles is well exemplified in Plate 3, 
which shows the hall and staircase in the house of El Greco. 

Notwithstanding the temptation to excess with such an accommodating medium as 
polychrome tiling ready to hand—temptation to excess of quantity as well as temptation to 
excess in pattern and riotous colour—the moderation displayed in most Spanish interiors 
is admirable. In plate 3 of the hall and stairway in the house of El Greco can be seen the 
trenchant chequery pattern defining the boundary lines of the tiled dado with peculiar 
emphasis. Yet such vigorous figuring is rarely employed along with an amount of strong 
colour great enough to make the result overpowering. A nice balance of accent was 
usually preserved without redundancy of stress. 

The field of the wall above the dado, when there was one, was ordinarily plain, at least 
so far as its fixed character was concerned, irrespective of what movable adornments might 
be hung upon it. Some of the later walls were frescoed, it is true, but the really typical 
Spanish wall was plain between dado and frieze or between dado and ceiling when the 
frieze was omitted, as it often was. Such walls may be seen in plate 10, already men- 
tioned as exemplifying other characteristics, plate 19, showing the hall and stair in the 
house of the Marqués de Villavieja, at Madrid, plate 13, of an interior in the Castillo 
de los Condes de Perelada at Gerona, and plate 26 of interiors in the Casa Cabayanes, at 
Argentona, not to mention any others. The value of severely plain walls was evidently 
well recognised as a foil for the brilliant tiled decorations, for the carved enrichments and 
opulent modelling in plaster and for the intricately panelled doors. 

Richly modelled plasterwork, called yeseria, was often employed for friezes and also for 
the decoration of doorways and window openings. A good example of such modelled 
plasterwork for a frieze above a perfectly plain wall may be seen in plate 13, already men- 
tioned, showing a seventeenth century room in the Castillo de los Condes de Perelada. 
These plaster decorations were ordinarily left uncoloured. Then, again, some of the inte- 
riors contained certain areas embellished with elaborate stone carving. oie xcelent 
instance of this sort of decoration is to be seen in plate 88, showing the sixteenth century 
Renaissance staircase in the Cathedral of Leon. It will be noticed that the whole carved 
expanse is divided into comparatively small panels of exquisite workmanship. Although 
the motifs used are unmistakably of pure Renaissance character, the method of panel divi- 
sion is of Moorish origin and was derived from the Moorish practice of wood carving and 
joinery. It was frequently transferred to stone, however, as in the instance just mentioned. 

The habit of minute and intricately patterned panel divisions is best seen in the pan- 
elled doors, such as that shown in plate 20, of an interior at Torla, where the decoration 
consists of a great diversity of geometrical motifs ingeniously combined. The same 


methods are to be seen also in a number of other plates contained in this volume. The 


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ceilings of panelled pine, which constitute one of the chief enrichments of old Spanish roonis, 
exhibit the same system of intricate shapes and small divisions and are peculiarly charac- 
teristic of Spanish interiors, as they are not found elsewhere. The use of colour and gild- 
ing for the further enrichment of carved wood and panelling was much less general than 
is commonly supposed. Elaborate wood carving, especially the carving of figures, though 
not absolutely confined to churches and religious houses, is most commonly to be found in 
those places. The small and varied panelling of doors and shutters in domestic interiors was 
ordinarily considered an adequate decoration without the addition of carving or colour. 

One of the most conspicuous characteristics of old Spanish interiors is the scantness 
of movable furnishings they contain when compared with the contemporary interiors of 
other countries. The relatively few pieces, however, are of such scale and quality that they 
possess a certain intrinsic sufficiency and are quite adequate to the occasion. Indeed, they 
demand space—one may say almost isolation—to be fully appreciated, and their fewness is 
no detriment to the general composition, but rather the reverse, for 1f they were more 
numerous the ensemble would not be nearly so articulate. Distinct articulation in the fur- 
nishing of a Spanish interior is one of its chief charms. Despite the austerity of early 
Spanish interiors, they were in no wise lacking in richness or even gorgeousness, for there 
were the splendid fabrics for hangings and upholstery, the tapestries, and the stamped and 
engraved leather, coloured and gilt, which all together or singly were sufficient to impart 
an almost regal aspect to even a simply furnished room. 

When we come to examine Spanish furniture itself, we find that the items in common use 
were not nearly so numerous as they were in other countries. They were, in fact, little 
more than the articles dictated by absolute necessity, but there was great flexibility in the 
way in which they were used for varied purposes. The material chiefly used was walnut, 
although oak, pine and other woods were employed to a lesser extent, and after mahogany 
and other woods were imported from Spain’s colonial possessions they likewise were employed 
to some degree, especially in the eighteenth cenntury. The structure was prevailingly rectili- 
near and the contours were robust. Apart from the interiors of the varguero cabinets and 
papeleras, which were elaborately enriched with carved and inlaid bone, coloured and gilt, the 
wrought iron and brass mounts, often underlaid with red velvet, velvet strained over chests, 
leather and velvet upholstery, and carving of various descriptions formed the usual decorative 
resources. The wrought and fretted iron mounts, and the various wrought-iron accessories, 
such as candelabra and grilles, formed a most important and characteristic feature of 
equipment. 

However interesting Spanish interiors and furniture may be in themselves, indepen- 
dently of all other considerations, their great value to us lies in the wealth of inspiration 
they afford for adaptation to our own modern conditions. |More can be learned from a 
careful scrutiny of plates than from volumes of text, and the material for just such scrutiny, 
provided by the plates in this volume, speaks for itself in all particulars of actual appearance. 


HAROLD DONALDSON EBERLEIN. 
New York, November, 1925. 


Vill 


INDEX 























PAGE 
MitenG—— new ld otisero! sblvGrecO... ¢ nk ak cae ie ase eles Sie ee lc ee hb eb orn deen 1 
Toledo—Views of Patio and Interior in the House of El Greco............ 2 
eeao—lralliand Staircase inithe House oft El Greco... )..c sci ec eee 4) 
Toledo—16th Century Renaissance Interiors in the House of El Greco....... 4 
eo —amieriorsan. ine Elouse of 41 Grec0... 6. ce ne te ss ee ewes 5 
Perec. tall im athe Museum of “Cau Perraty..... ccc. cece ew ee ee 6 
ere ona—Kitchen in the Museum ot “Cau Ferrat”. .. 1c... 6002. 0s es cues Zi 
Barcelona—Detail of Interior in the Museum of “Cau Ferrat”............. 8 
ence tora —ititerior in the Museum of Cau Ferrat”®.«. 5.8.23. 363% ged 9 
ioeciona—_» Room in the Museum of “Cau Ferrat”.......0..0..020+03-° 10 
Barcelona—l6th Century Bedchamber in the Museum of “Cau Ferrt’”....... 11 
barcelona—tInterior Detail in the Museum of “Cau Ferrat”............... i 
Gerona—17th Century Interior in the Castillo de los Condes de Perelada...... 13 
Gerona—17th Century Interior in the Castillo de los Condes de Perelada...... 14 
Gerona—16th Century Gothic Interior in the Castillo de los Condes de Pere- 
rl Re ORO eye er stray ane eine has: Dis aeAY Hate th Gate Peto ee ES 
Gerona—17/th Century Interior in the Castillo de los Condes de Perelada...... 16 





1 Escorial—16th Century Renaissance Interior and Furniture of Charles V. 17 
Fl Escorial 





16th Century Renaissance Bedchamber and Reception Room of 





TEV Bape dlls soc ie Steg a gaia: Cetra hte sae Da IDE x08 aria er ere aie Pearce, Fine e 18 
Madrid—Renaissance Interiors in the House of the Marques de Villavieja... 19 
Po laselrov. tiuesca)— 17th Century Renaissance Interior..... .......2..0 20 
Riudabella—1l6th Century Renaissance Interior in the Castillo of Sr. Pedro Gil 

ReCOMOLclemViC Nk atest koma ae Mean ea, hoc Oe 3 ney ta ah eca eae ee 21 
Riudabella—1l6th Century Renaissance Interior in the Castillo of Sr. Pedro Gil 

PREG NCC OLA a. 8s. agn Siok Bore chalet hae ait ot for ween A oe cea nash el eee ee 22 
Riudabella—16th Century Renaissance Interior in the Castillo of Sr. Pedro Gil 

PE irerlOn Ie mV OTA Cpe tk) tir <o cust - tea ete bce of Say Meee ene ea 23 
Madrid—Partial View of Two Interiors and Furniture of the 15th and 16th 

TSAO SI os Palit eran ge ae ON EL. rn ih Ce SPE AU a Tle eee 7 24 
Madrid—Interiors and Furniture of the 16th and 17th Centuries in the Col- 

fechionaots ts Lazato Galdcanoere tom fee} atsia eteeel ten ae, eee ee 25 
Argentona (Prov. Barcelona )—16th Century Renaissance Interiors in the Casa 

ADIN VES Ms oGSh Ural Ws a Pail cM career a oe ae vate ee hae 26 
evepective Kendesing-of askenaissance [nterione. a.9- ae eee ee Ne 
Perspective Rendering of:a. Renaissance Interior eyes ner ee 28 
Perspective Rendering of a Renaissance [Interior ie ee eee 29 
Perspective Retidering-of a. Renaissanceinter ior)... ee ee 30 
Perspective: Kenderine of a Renaissanceulnteriors cw wsetuneinn er ae eee ot 


Leon—16th Century Interior of the Church of the College San Isodoro...... 


Madrid—1l6th Century Renaissance Desk and Chairs in the Collection of Sr. 
Vazaro” Galdeano ity: cio ox. seca teeters eee etaces a eeanean Fe nae hee eee 


Madrid—l6th Century Renaissance Desks in the Collection of Sr. Lazaro Gal- 
CEANO: 2s wnt ese wien Se re rane les Me ae eee ee nee Gere ean eee 





Madrid—16th Century Renaissance Desks in the Archaeological Museum... 
Madrid-—Renaissanice Writing Desk sacs mime caine: ors eee Gee 2) camera ieee 
Barcelona—l6th Century Renaissance Desks and Chair Inlaid with Ivory.... 
Madrid—-l6th Century Kenaissance Kurumivess. «ae ee eee eee 
16th Century Renaissance Desk now in the Cluny Museum, Paris, France...: 


Madrid—16th Century Chair, Writing Desk and Hall Chair in the Archaeo- 
logical “Miasetimi is ci). ees ne setae ate cn eee 


Madrid—16th Century Carved Desk Inlaid with Ivory )| 

17ih Century, Desk Showing Maliameintivences) ys 0090-0 
Madrid—1/th- Century Renaissance Desks". 2a... eactets ase ee 
Madrid—I/th Century’ Renaissance Desks. 2252... cn eo oe eee 


Madrid—17th Century Walnut Desk and Details in the Collection of Sr. La- 

zaro Galdeano: wigs Sictha oe eee ieee tie te ae ee eae 
Palma de Mallorea—15th Century Gothic Chest ) 
Gerona—1/th Century Baroque Furniture in the Cathedral \ oS Sa 
Madrid—16th Century Renaissance Tables “235 2. 2 paeee ee 
Madrid—16th Century Renaissance Chairs and Table of Carved Walnut.... 


Madrid—16th Century Renaissance Chest and Table in the Museum of Decora- 
tive Artsy ek es Heed = alee d cunalig Si Sa nee ean oe 


Madrid—l6th Century Renaissance Furniture in the Museum of Decorative 
BATES. Ges whats aye ee elagaee Sy heh eRe We, Bp Leys Lae cee ot seta oe 


Madrid—16th Century Renaissance Table and Chairs in the Museum of Deco- 
tative WATTS ois eg cate ace Gh Ua, Gg ee 


Madrid—16th. Century Renaissance Table and) G@nair ces en 
Madrid—Renaissance Table, Chest and Bench in the Archaeological Museum 
Madrid—Furniture of the 16th and 17th Centuries in the Collection of Sr. 





Lazaro. Galdeano sy. 2Jc06-2. acas tus take 2 ae ae ca cee eae ee 
Madrid—17th Century Baroque Tables in Private Collections.............. 
Palma-de Mallorca—Furniture*ot the 1/th: Century. enn ne eee 
Salamanca 





17th Century Baroque Chair in the Provincial Museum } . 
17th Century Baroque Chair and Table in the Cathedral J*"~"" 
Burgos—Details of the Coronation Staircase in the Cathedral 

Madrid—16th Century Stall in the Convent del Paular | 2° 


Palma de Mallorca 





14th Century.Gothic Chairs in the Winseum a...) eee 


Madrid—16th Century Renaissance Desk and Chair in the Archaeological 
Mirrsetirna «... Si. i ite a) ae Sb elects Pomc spss ct RE creene eg ee a 


48 


PAGE 


Madrid—Renaissance Wardrobe and Chair in the Archaeological Museum. . . 


Madrid—Detail of 16th Century Wardrobe 
16th Century Chair in the Archaeological Museum 


mi el levels ,ele .# Fal a ious, 


Barcelona—Chairs of the 16th and 18th Centuries in the Museum of “Cau 
ae oe eee mn Soh Pyle Me ele! A ee ee 


EI Escorial—l6th Century Chair and Lighting Fixtures in the Rooms of 
2 ARIES: NY chs Sut RR eg eae ld en 


Madrid—17th Century Renaissance Chairs in the Museum of Decorative Arts 








Pees) /th) Century Renaissance Chairs and Table.................0300. 


Palma de Mallorca—17th Century Baroque Chairs in the Collection of the 
JUSS BLES: GHEY SRS a ie aga ep 2 ge oo gn 


17th Century Baroque Head of Bedstead and Chairs in the Collection of the 
eee Maa A GlatiC jeer whee Ulett gk ee Ss dees 200 Oe ee 


eaniaeo-—Carved Walnut Beds.of the 17th Century.........¢..........-- 





Coruna—17th Century Bed and Chairs in the Collection of the Marqués de San 
“LSS? GY She a aN ing es Regn ea DUS Panes ee Cp er i ie ae ee TET- 


ifeaanmd=— Renaissance Dining Room Furniture ............00.020-050+000% 
Seville—Renaissance and Baroque Benches of the 17th Century ........... 

Per eammibemotivand |/th Centuries: «. 4c ocials ae de le seins eae bos 
Madrid—Renaissance Wardrobe in the Museum of Decorative Arts......... 
Madrid—16th Century Renaissance Wardrobe in a Private Collection....... 


Paredes de Navas—16th Century Renaissance Wardrobe in the Parochial 
RCE eee) Cen 2, fe tw eS eb AE Sed ore ce Maemo tan de dh 


(7th Century Renaissance Wardrobe of Carved Walnut .................45. 


Madrid—17th Century Baroque Candelabra and Wardrobe in the Museum of 
Se AM | LS Sa, bo) kp An. a's Sees eA Ramer re ee eee ee pe 


15th and 16th Century Gothic Chests in the Museum of “Cau Fer- 





Barcelona 








Sear cet A sie is Ter OM a eht CRIES Unter ome Giger EMR sehen ERAS 
Huesca—16th Century Renaissance Chest of Drawers in the Sacristy of the 

CIGAR Mele eA ee Bie cee Pee ROY, RNa LN 8 ies Bong 2 Aor 
Pidae——toth Century. Renaissance Chests’.« ..:,. . «: suse pone ee ee 
Perlis l6th Century Chestan the Church of San Miouel 7.2 5224: aoa 
Palma de Mallorca—l6th Century Chest Inlaid with Ivory ............... 
Madrid—16th Century Candelabrum, Wardrobe and Reading Desks ........ 
Madrid—Chests of the i5th and 17th Centuries in the Archaeological Museum 
Barcelona—Chests of Various Styles in the Museum of “Cau Ferrat” ...... 
Seville=—loorways inthe Palacio de las. Duenas 25.) aes ee 
Seville—15th Century Moorish Gallery in the Palacio de las “Duefias” ....... 
Valencia—l6th Century Staircases in the House of the Marqués de la Escala. 
Leon—16th Century Renaissance Staircase in the Cathedral 222.225 e..563 


xi 


60 


PAGE 


Alcala de Henares—16th Century Renaissance Staircase in the Archbishop’s 





Palace-ef sos. py, stam ieeeenn pet one ep et eee oe hehe sae eee tee ee 89 
Leon—Details of 16th Century Renaissance Staircase in the College of San 

TSIAOE Or 56 © }°a sha ee es eee ie meen «12k S eens mo ie oie eh tn ace, 90 
Alcala de Henares —l6th CenturysDetails.ct Upper-Gallery 3-3 eee 91 
Details of -Patios=—1 Gtin Cemtitr ye peters pee een ee 92 
Seville—l6th Century Renaissance Detail in the Sacristy of the Cathedral, 

Executed, by Wiewo de Riang-and- Martin del Gainzascen ee ae 93: 
Madrid—16th Century Renaissance Wood Carvings from an Old Convent now 

in the wirchaeolos ical eM msevniies, fee es eee ee ea ne eee ee 94 
16th Century Renaissance Carved Panels from a Convent in Toledo now in the 

Museum,of Decorative Arts, aris, bance. =e here ee 95. 
Alcala de Henares—Detail of 16th Century Carved Ceiling in the Archbishop’s 

Palace Nis ue ie ve Deka gape ce Rete tes wc Be es 96 
Huesca—1l6th Century Renaissance Woodwork in the Cathedral ........... 97 
Seville—16th Century Moldings in the Cathedral’ .7. 2. ../. 2.) .) a eee 98 
seville—16th Century Woodwork in the Cathedral... 5.92. 000 sen ene 99 





Granada—16th Century Renaissance Doors in the Cathedral .............. 100 





Huesca—Details of Two 16th Century Carved Door Panels in the Sacristy of 

the Cathedralecs 275s 2208 Seiwa ahh ga ea eee 101 
Madrid—16th Century Renaissance Door in a Private Collection............ 102 
Seville—l6th Century Doors in the Collection of the Dutch Consul, Baron van 

Aersen: Bijeren: Ue iicc acu asus cas + Sokcs 0 DE ee 103 
Seville—16th and 18th Century Doors in the Collection of the Dutch Consul, 

Baron wan Aerséem Biperen — : J... @ aepeates ee ree eee ee 104 
Seville—Door of the 17th Century in the Collection of Don G. Consuega.... 105 
Seville—Door of the 17th Century in the Collection of Baron van Aersen Bi- 

JOTeN Sena Fibs ee Pe eee ios Wine Ble sce eee ee 105 
Seville—-Doors oi the foth Century 34.2 ..%.4 0 3, see 106 
Martorell (Barcelona)—16th Century Renaissance Tiles in the Collection of 

Dr. TSatitacama sci eda k See te ow cite En ae 107 
Martorell (Barcelona )—16th Century Renaissance Tiles in the Collection of 

Dr. ~Santacana <i. hace oor bw eae oc cee hoe on eee 108 
Madrid—15th and 16th Century Candelabra from Various Churches........ 109 


Seville—l6th Century Renaissance Lanterns in the Palacio de las “Duefias”. 110 


Barcelona—Gothic Torch Stands of the 14th and 15th Centuries in the Museum 
of “Caw Ferrat” 205384. Sow ee Se ee 112 
Barcelona—Gothic and Renaissance Torch Stands from the 14th to the 16th 
Century in the Museum-ot “Cau Ferrat “(22 50) 27> ae 112 


15th Century Gothic Candelabrum, Chest and Wrought Iron Work ......... 143 








XIl 


PAGE 


16th Century Renaissance Objects Belonging to the Cathedrals of Leon, Burgos 
SUP aL TRIN th, DRONE woes te tees atin Pau ere re 114 


Madrid—Wrought Iron Work of the 15th and 16th Centuries in the Archae- 
re Miers Me CS CUT mMUMen EMRE ee etd rast gs tee gent 82 SPs a gisiod sree Sue Se Ti 


Madrid—Wrought Iron Work of the 14th, 15th and 16th Centuries in the 
2) einai ef aster ACS RES eABTaMy Sousa ok bie regen a ce ee en ba ne ce 116 





Granada—Wrought Iron Work of the 16th Century in “El Ayuntamiento”... 117 


























Seville—Wrought Iron Work of the 16th Century in the Cathedral ......... 118 
Seville—Wrought Iron Work of the 16th Century in the Cathedral....... 119 
Seville—Details of 16th Century Wrought Iron Work in the Cathedral..... 120 
Siem Ootovoentury Grule im the Cathedral oo... 6. eo. esse co es eee enn 121 
Toledo—17th Century Baroque Front of Altar in the Collection of Sr. Mau- 
ec eiemee De cal ODER LC yee We ese n ergs rum vad e.g tiie, cea Rs etic whe auch uuilay hoe Walk 
Barcelona—Wrought Iron Work from the 14th to the 16th Century in the Mu- 
Semen mC CT 2) Meee ae «hn chee ate fy i PCE Te OUT dey ara e a Sulcea > Glace ¢ Ore 122 
Barcelona—Wrought Iron Gothic Door Knockers from the 14th to the 16th 
MoMMicmOtiony iSeuilon (au lerfat, (fs)... 2458s. tae es co eae 123 
Barcelona—Wrought Iron Gothic Door Knockers from the 14th to the 16th 
Merits Bi er Viniceiii Ole Call Orrate cm at acc. ciate oe see os NS 124 
Barcelona—Wrought Iron Gothic Door Knockers from the 14th to the 16th 
Mee Migvelil peas LUSeuiin Ory sc Atl LCi Tatas Oe fies neater geeks sc tseo yeahs we 125 
Barcelona—Gothic Door Knockers of the 14th, 15th and 16th Centuries in the 
Rec AN Cn eae TLIBECC EGA Leas OBE nt avin ee la er ae Se toe Segre oe Otel cee 126 
Barcelona—Gothic Door Knockers of the 14th, 15th and 16th Centuries in the 
Pails CUO Re CFA PINCUI AL gues dears ote) a cco ae esa cet Rete ee WE 
Barcelona—Gothic Door Knockers of the 14th, 15th and 16th Centuries in the 
PeSe UTI Or, arti H CCT a tae hana rine le conn oe, keen Poe cies tae eee er ae 128 
Barcelona—Gothic Door Knockers of the 15th and 16th Centuries in the Mu- 
BomimOrss CA Pierrat s. l.t.t we. eres akg 1d a) asia ah cee ti A ee nn koe aa 129 
Madrid—Door Knockers and Furniture Hardware of the 16th Century..... 130 
Barcelona—Furniture Hardware from the 14th to the 17th Century in the 
Mirseui sore Can Merratas ot. can. ctnese aha tortie ane ee eee awl 
Barcelona—Furniture Hardware from the 14th to the 17th Century in the 
VMS OTIMISOLS Cate Craik!” a waste: es Oe, Se erica aac ce eee re nr 132 
Barcelona—Furniture Hardware from the 14th to the 17th Century in the 
(Vbuseum. of “Can Hercat (eis 0 1.2.5 ose ee eae eee ee ier 
Madrid—Furniture Hardware from the 14th to the 18th Century in the 
-Coilection=- olor, sAdoliog Herter des 9 ett nae cee ee en are aa ere 134 
Madrid—Furniture Hardware from the 14th to the 18th Century in the 
Collection vot Sr Adolfo: Elerrerac set oe eater ee ee ae 135 
Madrid—Furniture Hardware from the 14th to the 18th Century in the 
“Collection? of Sr. Adolto:Herterav sss. see eee eee ee 136 


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PALMA DE MALLORCA—16TH CENTURY CHEST INLAID WITH IVORY 


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MADRID — FURNITURE HARDWARE FROM THE 14TH TO! THE 181TH CENTURY IN THE 
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} 











Spanish Farmhouses and Minor Public Buildings 
By WINSOR SOULE 
One bound volume, 8% x 11, containing 236 photographs, with descriptive text by 
RALPH ADAMS CRAM, Litt. D., L L.D. 
$10.00 net 


(ee WAS the author’s good fortune on a trip for professional study through Spain, to 
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dealing with the Baroque, Churrigueresque and Moorish periods have been purposely 
omitted as having little or no application in the architecture of today. 

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country as a whole, owing to the fact that traveling by auto made possible the inspection of 
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agonies of the Spanish railroads. 


Picturesque Spain 
By Kurt HIELSCHER 
Architecture—Landscape—Life of the People 


Qa is probably the most picturesque nation in all the world. In this large volume 
the very atmosphere of Spain is captured and held imprisoned for all the world to en- 
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Franciscan Mission Architecture of Alta California 
By RexrorD Newcoms, B.S. C. M. A. 


les THIS magnificent publication, size 12% x 16, Mr. Newcomb has featured by espe- 
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Renaissance Architecture and Ornament in Spain 
By ANDREW N. PRENTICE 


AoE: of Examples selected from the purest Renaissance Architecture and Orna- 
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Prentice, Architect, A. R. 1. B. A. - Containing 60 Folio Plates; size 13 x 1% in¢hessre= 
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The Minor Ecclesiastical Domestic and Garden Architecture 
of Southern Spain 
By AUSTEN WHITTLESEY 
With a preface by Bertram G. Goodhue 


ey THIS book the architecture of southern Spain has not been treated in an archzo- 
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Price $10.00 


The Renaissance Architecture of Central and Northern Spain 


A companion volume to the Architecture of Southern Spain by the same author 
By AUSTIN WHITTLESEY 


Ie CONTAINS less of the picturesque and the baroque but is devoted almost entirely to 
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One volume in fine buckram binding, 9% x 12% inches, with over 150 original photo- 
graphs and seventeen pages of measured drawings. 


Price $18.00 








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